Since and because. These are two little conjunctions that cause problems for some folks and represent yet another gray area in terms of accepted usage. Merriam-Webster lists because as a synonym for since and vice versa, but there are subtle differences.

Since is used in a temporal sense.

Since the weather changed, my allergies have improved. 

An easy way to test if since is appropriate is to substitute “from the time when.”

Since she was a toddler, music has been an important part of Cheryl’s life.

We have visited nearly every hobby shop in San Francisco since we moved to California.

When talking about cause and effect, use because. This leaves very little room for confusion, as the word itself spells out its purpose.               

Because of the new medication, my allergies have improved.

Also correct: Since I discovered this new medication, my allergies have improved.

Because we were missing so many ingredients, we had to find a new recipe.

Unfortunately, this does not clear things up completely.

According to more than one dictionary, since can also be used to mean because:

Since he emphasized how important it was, I ran right out and mailed it.

(I mailed something because it was important.)

Some folks insist that this is incorrect; and while it does lend itself to confusion (because would have made it more clear that this is a cause-and-effect situation), it is not necessarily incorrect. Some style guides insist on sticking to since for time-related usage, which helpfully removes any doubt. In most areas of creative writing, though, people have been happily using this construction for years and are unlikely to stop just because they’re told it’s wrong.

The author of this article is Keith Connes. He is at the 60-year point (give or take) in his burgeoning career as a professional writer. He started in radio, then became a TV-commercial writer for several major New York agencies. This enabled him to buy an airplane and morph into aviation writing. He’s now crafting more general articles, humor pieces, and short fiction and thinks he’ll stay put with those until he reaches the age of 100, which should be any day now.

Write a memoir. It doesn’t matter whether you are a beginning writer or a seasoned pro—or even if you don’t consider yourself to be a writer at all. Write a memoir to present the gift of your inner self to your family, friends, and perhaps a wider audience. You might publish only a few dozen copies for a very limited distribution, but then again, a really compelling story could become the propellant that launches your writing career.

A basic writer’s axiom advises you to “write what you know,” and what could be more familiar to you than an episode in your own life? And here’s what makes it so special: A memoir can give your loved ones a greater insight into who you are and how you got to be who you are—your thoughts, your feelings, your adventures through life, and the things you learned along the way. And you don’t have to wait until your sunset years; you can write a memoir at any age. You can do it now.

Let me be clear as to what I mean by “memoir.” Some people may think of the word “memoir” as meaning an autobiography. Well, yes, an autobiography is a very extensive memoir, taking in the entire life of the subject, but a memoir can also be just a small nugget of that person’s existence—a series of reminiscences or even a single recollection. So it’s not that daunting a task.

Even so, would your memoir really be that valuable to others? Well, think of somebody who is important to you—your mother, father, grandparent, friend—and even though you’ve known that person for years or decades, you sense that there are aspects of that person’s life that you don’t know about and wish you did. Not necessarily skeletons in the closet, but—well, wouldn’t it be fun to know that Grandma always wanted to be a trapeze artist but somehow never got around to it?

My best friend since high school was, for most of his adult life, a sales executive whose high-powered drive enabled him to found and manage several insurance companies. I thought I knew him pretty well, but I was astonished when he sent me a book of sensitive and lovely poetry that he had written! I saw an aspect of Frank I had never suspected, and my respect and admiration for him became even greater.

Well, you may not be a secret poet or even a wannabe trapeze artist, but aren’t there some unrevealed parts of you that you wouldn’t mind sharing but you haven’t gotten around to it, or maybe you’re just a little shy about it?

Write it down. Write your memoir. If it seems too daunting, you have a tape recorder—everybody has at least one. Go to a quiet place, turn the recorder on, and speak your thoughts. Don’t worry about grammar or punctuation—just talk. You can fix it later. If it would help get the thoughts flowing, sit down with someone you feel comfortable with and start chatting about a topic for your memoir. Can’t find enough quiet time? Do it in the car. Let others talk into their cell phones. What you’re doing is for posterity!

Regardless of where your memoir begins, it can take on a life of its own—because it is, after all, your own life.

Write your memoir. Do it for the ones you love, for yourself, and maybe for some great-great-grandchildren you will never know. But, through your memoir, they will get to know you.

Our great-grandparents might not understand, but many of us now wake up to our Yahoo! or MSN home page to get our daily news and celebrity gossip fix. While daily newspapers will continue to be an important part of our lives, there’s no denying the impact of having such an array of online reading material. According to many surveys, more and more people than ever before are using the Internet to read the news, access blogs, articles. Studies also show that people tend to access online journals more frequently than print journals. Again, print magazines and journals aren’t in danger of disappearing anytime soon, but the Internet offers an alternate source of reading material—material that is usually up-to-date, easily accessible, often free, and conveniently waiting for us in our own homes or on our laptops. And as we ease into the world of cyberspace, online magazines and literary journals are quickly earning prestige and increased readership.

Online Magazines and Journals

There is a proliferation of literary magazines popping up on the Internet, and this is changing the way literature reaches readers. Suddenly, literature is more accessible to the entire world, and E-zines are offering more selections to their readers. These online magazines are finding better ways to meet the needs of writers and their readers, becoming a defining force in literature.

Literary journals and E-zines usually publish poetry, short fiction, and essays and offer information about authors and book reviews. Much of the work is written by new writers, so beginning writers take note: The Internet offers greater opportunities than ever before to get your work published. It hosts a variety of smaller-niche publications that offer new writers a forum for their work, as well as a worldwide audience. This translates to more people seeing a writer’s work than ever before. And, as it should be, the goal of these E-zines is to feature the work of deserving writers, both experienced and inexperienced.

Suppose you’ve placed a short story in a respectable print journal. Your story will be in active circulation for a certain number of weeks, and then it will be moved to the archives. If your story appears in an online literary journal, it may be viewed by thousands, and when it is archived, a mere click of the mouse will bring it back to life. No trips to the back rooms of libraries. Plus, your story will be viewed by people all over the world who may not have access to work you’ve published in print. This long-term exposure is a definite advantage for the author. This may explain why many mid-list literary magazines are switching to both online AND print editions.

New writers who are looking to be published in a print magazine would do well to target the mid-list (or second-tier) literary magazines. Obviously, the very best placement for an author’s short fiction would be in first-tier magazines; but if this goal is unattainable, online publications are a great way for new writers to get those first credits.

The Internet also offers writers newsletters, chat rooms, and forums where they can network with fellow writers from all over the world. This is a great way to stay current and glean information about particular editors and agents or hear about new E-zines and what they are looking for.

Blogs (short for Web log) have been on the Internet since the early ’90s. Originally, blogs started as personal diaries online, but that has since evolved and expanded. Not only are blogs for personal use, but blogs are often vehicles for sharing and discussing specific subjects, such as travel, politics, entertainment, and, of course, creative writing. Some of these blogs for creative writers can serve as an online journal, publishing a new poem or short story on a daily basis. Other writer-friendly blogs, such as http://www.writersreliefblog.com, offer information and advice for improving one’s writing skills.

Editors/agents will consider your work published if it’s posted publicly on your blog. Avoid sharing your work until it’s already been published elsewhere, giving credit to where it was first printed. In addition to sharing already-published work, if you’re promoting a book you’ve written, you can have friends and loved ones comment with reviews, announce book readings/signings, etc. Start sharing your blog link—that is, the URL, the WWW to get to your blog—in your e-mails and other communications. The more people you have visiting your blog, the more likely people will spread the word. An added bonus is that your rankings in Internet searches will increase.

Dialogue can be tricky to write and, sometimes, tricky to punctuate. A few pointers:

I. It is standard form to give each speaker his or her own line of dialogue.

     "Brad, I’d like you to meet my sister, Joanne,” Jill said as they walked into the room. 
     “It’s nice to meet you, Joanne. Or may I call you Jo?” Brad said.
     “I go by Joanne, but you can call me anything you want,” Joanne answered with an impish grin.

Sometimes this rule can be broken.

     “Quick, grab the rope,” he yelled, but when he turned around, his partner quietly said, “It’s too late.”

II. Other times, a character’s dialogue continues for more than one paragraph. In this case, use an initial quotation mark for each paragraph, and insert a closing mark at the end of the final paragraph.

     Doug said, “Dialogue paragraph one.
     “Dialogue paragraph two.
     “Dialogue paragraph three.”

Now the reader knows that Doug is finished speaking, even though he’s rambled on for three paragraphs…

III. Never use quotation marks in a screenplay, where every line is dialogue.

IV. And, finally, do not use laughed, smiled, or grinned as speech tags. These should be used as separate sentences, as it is impossible to grin or laugh a sentence.

     “Oh, you think you’re so funny.” She grinned. “But you have mustard on your face.

When the protagonist of your story pauses to think something, you need to set it apart somehow from the regular text and dialogue. There are a few different ways of setting characters' thoughts.

The most straightforward way to do this is to paraphrase the characters' thoughts into the narrative. For example:

When the brothers climbed up the riverbank, their school clothes coated with mud and filth, it occurred to them for the first time that their mom would be furious. Why hadn't they gone home first to change into play clothes? Oh well, they were already in trouble for being late for dinner, and they might as well get it over with. The trio trudged home reluctantly.

Another useful technique is to use italics, which is an effective tool when both thoughts and spoken dialogue are interspersed. This technique is becoming standard practice among publishers—and for good reason. The different type style makes it quite clear when a person is thinking versus speaking aloud:                                   

When the brothers climbed up the riverbank, their school clothes coated with mud and filth, it occurred to them for the first time that their mom would be furious. Why didn't we go home first to change into play clothes? Roger thought. "We're already in trouble for being late for dinner, so we might as well get it over with," he told his brothers, and the trio trudged home reluctantly.

This style is also popular with science fiction and horror writers, who use italics to show telepathic communication between characters. Some writers use quotation marks to set off thoughts, but this can get complicated, especially when thoughts and spoken dialogue are mixed. 

When the brothers climbed up the riverbank, their school clothes coated with mud and filth, it occurred to them for the first time that their mom would be furious. "Why didn't we go home first to change into play clothes?" Roger thought. "We're already in trouble for being late for dinner, so we might as well get it over with," he told his brothers, and the trio trudged home reluctantly.

There is nothing to differentiate between the spoken sentence and the thought. This can be avoided by using single quotation marks around the thought, but this is an awkward fix, and we don't recommend it.

When the brothers climbed up the riverbank, their school clothes coated with mud and filth, it occurred to them for the first time that their mom would be furious. 'Why didn't we go home first to change into play clothes?' Roger thought. "We're already in trouble for being late for dinner, so we might as well get it over with," he told his brothers, and the trio trudged home reluctantly.

If your character is thinking something to himself, it is redundant to say so.
 
Wow, that sure is a small car, the large man thought to himself.

But if he is thinking out loud, tell this to your reader. 

"Wow, that sure is a small car," the large man thought aloud. 

Finally, whichever style you choose to follow, make sure it stays consistent throughout your work, and make it easy for your reader to follow what your characters are thinking, as well as saying.

As with so many aspects of the writing world, formatting issues are a gray area, and writers struggle with the burning question: One space or two after closing punctuation?

When in doubt, creative writers often turn to the Chicago Manual of Style, whose official view is that there is no good reason to use two spaces after a period for work that is to be published. (Obviously, this rule does not apply to personal correspondence, notes, etc.)

In the days of typewriters, extra space was necessary to create a more defined space between sentences for the reader's eye. Typewriter fonts are monospaced, which means that all the letters take up the same amount of space, and most of us were taught in typing class to add that extra keystroke at the end of a sentence. But computerized fonts are proportionally spaced, and a single space is sufficient to provide a visible break. The exceptions are the fonts Courier and Monaco, which are monospaced, but it's probably best to switch to a font such as Times New Roman or Arial rather than using the double space.

So save yourself a keystroke; there's something to be said for efficiency.

It can be hard to develop a believable character for your story. Most of us don’t have close relationships with dashing heroes or beautiful yet gutsy medical examiners named Desiree. This makes it tempting to take inspiration from people we actually know, and often the resulting characters are thinly disguised versions of ourselves or our friends and relatives. Your wacky Aunt Mabel may be familiar to you and a hoot at holiday get-togethers, but as anything more than a minor comic relief character, Aunt Mabel is going to be an unlikely heroine. It might be better to enlist the scary guy who lives down the street and develop a villain (or an unlikely hero) based on him. Sure, all you know about him is that he rides a loud motorcycle, and his biceps are frighteningly large and tattooed, but boring he’s not!

Successful writers usually develop a detailed character sketch and biography in advance, noting physical, as well as personality, traits. The greater the detail of the sketch, the greater dimension the character develops.

Think about your biker neighbor. You don’t know him, but you can assume that he probably isn’t the son of two college professors, he probably doesn’t attend the opera on a regular basis, and he isn’t likely to be meek and shy. It’s more realistic to assume he’s the son of working-class parents, prefers football to the opera, and he’s pretty brave and tough. And if we’re working on avoiding stereotypes (which is usually our goal), this character could surprise us and become our unlikely hero, despite the prison tats.

The personality needs to fit the fiction. If you’re looking for a hero to save the world from destruction, you can choose the dashing and dapper John Q. College Graduate with broad shoulders and a deep, calm voice, or the scruffy biker dude, who saves the day despite his looks. If you want Aunt Mabel to be the heroine of your novel, you better develop some interesting traits that would support her superhero ways—perhaps she’s not as frail and wobbly as she looks! Just don’t leave Aunt Mabel exactly the way she is in real life, or her character may fail to deliver.

The point is to get to know your characters and make them three-dimensional. Be familiar enough to be able to predict what each character would do if he or she were faced with a certain choice or put into a certain situation. Every person has a darker side or a secret. Give the warmhearted schoolteacher a secret vice, a bit of a temper, or a scandalous past. When you’re sketching your character, include a basic history, his/her dreams and ambitions, obstacles and hurdles, social status, and sexual and economic power. Also include physical characteristics, so that you can make sure Desiree stays a redhead throughout her adventures and Biker Dude’s tattoos stay on the correct shoulder.

The short story presents a different problem. There simply isn’t time or space to let the reader get to know your main character, so you have to present them with as much information as they need to know as succinctly and subtly as possible (show, don’t tell!). If it’s not relevant to the plot, we don’t need to know that the warmhearted schoolteacher is allergic to shellfish or has a degree in Russian literature. We might, however, need to know that she’s a closet smoker, addicted to chocolate truffles, and harbors a long-standing grudge with her sister. For the short story writer, it’s essential to have a fully developed character in mind; but rather than giving us a bulleted list of traits, let your character’s actions demonstrate who she is. Hold back a secret or two about your schoolteacher and surprise the reader.

As writers, we are asking our readers to visualize our characters and relate to them. We want our characters to be realistic so that our audience can connect to them—we want the reader to cheer them on as they surmount obstacles and shed a tear when they fall. Readers care about people, and a fantastic plot populated with bland or one-dimensional characters isn’t enough to hold their interest. Your audience should feel involved with your characters, so that they become vivid and real people. And this isn't easy. If you can get your readers to fall in love with and cheer for the scary biker dude, you can consider him a successful character.

The following guidelines can help you determine when to use capital letters (and when not to).

Capitalize the first word of a sentence, including the first word of a quoted sentence.

It wasn't easy to ignore him when he yelled, "Get a life, you weasel!"

Capitalize proper nouns.

Lake Michigan, State Street, Williams Welding Company, Jupiter, Pacific Ocean

Capitalize titles that precede the name. Do not capitalize if the title is a description that follows the person's name.

The best course was taught by Professor Leo Smith.

Leo Smith, one of the college's professors, edited the literary magazine.

Capitalize titles when used in address.

The stand is yours, Officer Higgins.

Is it possible, Doctor, that you made a mistake?

Capitalize family relationships only when used as proper names.

I went to visit Uncle Frank, but my other uncles couldn't go with me. I was able to convince Father to come with me, but my mother didn't feel well.

Do not capitalize directions unless they are part of a proper name or refer to a specific region.

Each week I travel a few miles south to West Yorkshire.

They're packing up and heading for the Southwest.

Capitalize the names of God, religious figures, and holy books. Do not capitalize the nonspecific use of the word "god."

She covered her all her bases and sent up prayers to God, Buddha, and the Virgin Mary.

In some cultures, the worship of many gods is more common than monotheism.

Capitalize the days of the week, months, and holidays. Do not capitalize the seasons unless the season has been personified—and even then it's optional and sometimes considered old-fashioned.

We celebrate Thanksgiving in November, just as fall begins its transition into winter.

Suddenly, the icy breath of Winter chilled our skin.

Capitalize periods and events. Do not capitalize century numbers.

Great Depression

twentieth century

Capitalize political, social, military, and athletic groups.

Seattle Mariners

Republicans

Native Americans

Mothers Against Drunk Driving

Army, Air Force, Marines, Navy

And one final tip. In creative writing, it's tempting to capitalize words that are important to your sentence, such as "love" or "justice." This is generally frowned upon.

Whether you’re submitting your work via postal mail or e-mail/online, it is important to have your computer files organized and properly named, so you can immediately identify what piece to submit and what you have previously sent.

Making Folders

Create a new folder in "My Documents." Name this folder "Creative Work." This folder can hold whatever genres you write, but you want to distinguish it from any academic work that you might write and from other non-creative writing folders.

Within the "Creative Work" folder, make at least three subfolders: Accepted, Drafts, Poetry (Short Stories, Essays, etc.; you want to make a separate folder for each genre that you write).

The Accepted folder will contain work accepted for publication. It’s imperative to keep all of your work, but you also don’t want to make a mistake and resubmit any previously accepted pieces. The Drafts folder can be the holding place for works in progress, brainstorm ideas, work that is in a state of being proofread, and earlier versions of a finished piece (in the event that you’re the type of writer who likes to save every draft). The genre folders will hold completed versions of your work.

Naming Your Files

Imagine that you’ve written a piece called "The Red Stone." You can drop the beginning articles and spaces when you’re naming a file, but we recommend saving the file with the name of your piece. Let’s say you’ve submitted the named file "RedStone" to 25 markets. As some responses come back, you decide that you want to revise "The Red Stone" for the next time you submit. Make a copy of the original "RedStone" file. Rename this file "RedStoneOLD." Back at your list of documents, you will now rename "RedStone" to "RedStoneNEW." It is in this NEW file you will make revisions. You want to maintain the same name formatting so that the two pieces sort together.

It may happen an editor wants to publish "RedStoneNEW," but he or she wants you to retitle it to "The Brick-Red Stone." You, being the compliant writer, agree. In your files, you need to copy the file "RedStoneNEW" and paste the file in your folder. On a PC, the file should read "Copy of RedStoneNEW." On a Mac, the file should read "RedStoneNEW copy." Rename this file to "Brick-RedStoneWASRedStone." Next, rename the original "RedStoneNEW" file to "RedStoneNOWBrick-RedStone." By doing this, you’re able to see that "Brick-Red Stone" is the latest version, but you’re also able to maintain its previous versions. Since X Journal has accepted "The Brick-Red Stone," you now can move all of these versions into your Accepted folder.

On a PC, sort your files by the "List" view. Select a file to see the details of the file, which at the bottom of the screen. It will show the last date modified; that is, to say the last time you worked in that file. This is another way to be sure you are choosing the most current version to work with. On a Mac, choose the "list" view as well and highlight a file to see the last date modified and other information that opens to the right of the document.

This process of naming and saving files this way works well for prose and book writers who make postal and electronic submissions. However, if you’re a poet, there is more to the process.

Poets should keep each individual poem saved in its own file. It is easier to move poems individually and keep track of newest versions this way.

Organizing Poetry Submissions

E-mail/online submissions are a bit trickier for poets. Some outlets want the poems sent in one document as a DOC or RTF file. Other outlets want the poems sent individually via attachment. Then there are still others who simply prefer that your poems be pasted into the body of the e-mail with no formatting embedded. On a PC, the icons for a DOC and RTF file look the same. We recommend putting "rtf" at the end of the poem file names for RTF files so that you can easily identify RTF from DOC. On a Mac, you’re able to see the difference between these two files, so this isn’t applicable. Nevertheless, when you’re submitting via e-mail/online, always follow the guidelines of each individual journal.

It’s important to know that when you are making poetry submissions, literary journals and magazines only accept groups of poetry consisting of 3-6 titles. We suggest that you create subfolders with a group number to correspond with a specific group of poems. Once you’re happy with the way a particular group of poems reads together, keep these poems submitted and organized together in that group until you’re ready to totally revise and retitle (or retire; that is, to never submit it again) a particular poem in the group.

If you’re making poetry e-mail/online submissions and the journal requests that the poems be sent in one file, paste all the poems into one document, then save the file with the appropriate group name. You should also maintain a separate document called "Groups" that lists each set of poems by group.

We highly recommend this strategy since it will save you time and energy when it comes to tracking your submissions. If you mix and match poems with different groups, you’re more inclined to submit a poem to a journal that might have already seen it.

Back Up Your Files

A final note: It is crucial that you always save your work and create backups for your work. You can save your work onto floppy disks, zip disks, CDs, external backup drives, or flash drives. We personally recommend zip disks or flash drives because your work is less likely to get corrupted on these devices. Also, flash drives can be carried in your pocket when you travel or have a few minutes to work on someone else’s computer (with permission, of course.) In addition, there are also various Web storage sites that can hold your work for you for minimal prices a year.

At Writer’s Relief, our full-service clients benefit from having us be a hub for all their electronic files. We also track your submissions and responses, and we’re here to provide you submission strategy and acceptance advice. Our full-service clients have access to their own personal online database (for submission tracking purposes) 24 hours a day, 7 days a week. Please call our offices toll free at (866) 405-3003 between the hours of 8:30 a.m. and 2:30 p.m. Eastern Time to discuss the best plan for you.

The past tense is fairly easy to comprehend. When we talk to our friends we use past, present, and future tenses with ease, but as writers we use other tenses to enhance our work and help explain the sequence of events to our readers. One of these is the past perfect tense, which is, in essence, a little more past than past. When used correctly, this tense tells the reader that we’re going back in time, even beyond the usual past tense that is employed in most fiction. Technically speaking, it is used to refer to a noncontinuous action in the past that was already completed by the time another action in the past took place.

The past perfect can be very useful in fiction writing because you can go back to a previous event without confusing your reader.

She had worried about her sister’s drug problem when their mother died and had taken steps to find a suitable rehab program. But her sister continued to push her away over the years, and eventually, Joann decided to step back from the problem and stay available should her sister need her. She knew how stubborn and independent Julie could be.

It can also be annoying if overdone. Once you’ve established that you’re going back in time, you can revert back to the simple past tense. In the above example, we reverted back to the past tense after "rehab program." The flashback had already been established, and there was no need to continue with the past perfect.

The past tense becomes the past perfect with the addition of the verb "to have."

Past: I wrote that poem.

Past perfect: I had written that poem.

The past perfect tense implies that I wrote that poem before something else happened, as in "I had written that poem before experiencing a broken heart." Another example:

Past: I wanted to learn more about Italy, so I called my friend Stephanie, who lived in Florence.

Stephanie was probably still in Florence at the time of the call.

Past perfect: I wanted to learn more about Italy, so I called my friend Stephanie, who had lived in Florence for several years.

Stephanie no longer lives in Florence.

If you’d like to test your skills, take a crack at our little quiz.

Thomas Edison invented/had invented the lightbulb.

They never owned/had never owned a dog before Samson padded into their lives.

By the time Mr. Johnson got home, his family ate/had already eaten dinner.

As soon as he spotted the guard, he ran/had run off.

When the music started, the teenagers started/had started to dance.

Andrew couldn’t open the door because he forgot/had forgotten his key.

Bobby has never been/had never been to a baseball game before that night.

If I knew/had known, I would have come by yesterday.

The women fell ill a short while after they ate/had eaten the crab salad.

My son already read/had already read that book before the movie came out.

Answers:

invented

had never owned

had already eaten

ran

started

had forgotten

had never been

had known

had eaten

had already read

by D.B. Pacini of www.astarrynightproductions.com, Writer's Relief Client

I serve as a writing mentor for teens and young adults. Fairly frequently, with the desire to be unique, a young person will intentionally spell a word differently than the generally accepted spelling. This is fine in special cases, but I feel it is unwise in most.  For example, if a character is portrayed as a street thug, I don't have a problem with him speaking in slang. If a character is portrayed as a country-folk person, "I'm gittin' ready to fix supper" works.

Recently a young writer wished to spell “skillfully” as “skilfully,” and I advised against it. She provided no reason for the spelling to her reader. She told me that it is an accepted spelling in the dictionary, so she wanted to use it. Although skilfully is indeed an accepted spelling alternate, it is not commonly used in literature, medical, or scholarly text. I believe that most readers will think skilfully is a misspelling and book editors will mark it as a misspelling. Unless this young writer has a specific reason for the unusual spelling, that is obvious to her reader, I think she should use the standard spelling.

When I intentionally use an unusual word, unique expression, or atypical spelling, I make sure that the reason is obvious. An excellent case in point is the current trendy expression: My bad. It is slang and is used to apologize for a mistake. Example: “Sorry, my bad! I forgot to tell you he called and left a message.” This relatively new expression is enjoying huge popularity. Consequently, it is used in a number of TV commercials and TV shows. Actors as young as kindergartners and as old as great-grandparents are saying it to the cameras.

Bottom-line point: We may use any words, expressions, and unusual spellings we wish if we do so wisely and if our readers can easily understand our reasons and our intentions.

We've all felt it. The blank look that creeps across our face as we stare at the computer screen. The utter lack of inspiration. The lack of fire. Sometimes we can't bring forth even a scrap of creative genius, and sometimes a once-inspiring idea suddenly goes stale. It's something that happens to every writer, and everyone has his/her own way of dealing with the problem. We've put together a few ideas we hope will help get the word party started.

Coming up with fresh ideas:

Change of scenery. Yes, we know. You hear this all the time, but if it works, it's worth a try. Jump on a bike, hop a train, pull on the sneakers, and go someplace different. It may be a new coffeehouse down the street, an unexplored neighborhood, even a tropical vacation, but the change of scenery may be just what you need to get a fresh perspective.

Eavesdrop. Blatantly and unabashedly eavesdrop on interesting conversations. Take notes. If nothing develops (and you don't get caught), at least you will have honed your dialogue skills.

Carry a notebook. Sometimes our best ideas strike out of the blue, so be prepared and carry a notebook to capture them. Take notes on things you observe, capture interesting characters you encounter on the subway, or record great one-liners you overhear. Sometimes even one word can evoke an entire scene as you review your notes later.

Read. It can be an author whose style you admire or Gerbils Monthly magazine. Read something that inspires you, or check out something you've never considered reading before. If you've always been too embarrassed to buy a cheesy tabloid, do so now with the confidence of a good excuse: we'll call it research. See what ideas are generated by the outrageous headlines, and get out of your own head for a while.

Take a class. Most writers spend an ungodly amount of time in front of a computer screen. Try taking a class that has nothing to do with writing, such as tai chi or cooking. You may meet some interesting people and develop new ideas from the setting. And you'll be more relaxed as you create the perfect souffle.

Free write. Sometimes the act of writing itself can get things started. Get a blank piece of paper and just start filling it up with whatever comes to mind. Be silly, shocking, or close your eyes and try to connect with the other side. Whatever it takes.

Give yourself a deadline. Generate a false sense of panic and tell yourself you have two hours to (fill in the blank). Sometimes working under pressure creates the best product, even if you know you won't be fired if you miss the deadline.

Revitalizing old ideas:

Take a break. If you've been like a puppy and have worried an idea half to death, take a break and work on something else. If the idea is worth salvaging, it will eventually come back to life. If it doesn't work after several breaks, it might be time to start over with something new.

A new angle. Research your idea from an entirely new perspective. Writing a short story about a farmer's disastrous harvest season? Try approaching it from a new angle, such as a farmer's daughter's joyful wedding in the middle of a disastrous harvest season. Want to write about dogs? Imagine your subject from different perspectives, such as dogs from a vet's point of view versus a child's point of view. Brainstorm all possible angles surrounding your idea, and see what develops. If you're unable to revive your passion for the once-hot idea, it may be time to scrap it, either temporarily or permanently. Our world provides a rich feast of ideas for the creative mind, and when the right concept comes along, you'll know it. And write it.

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As much as writing is a part of our soul, our personal expression, when we’re trying to sell our work, we must keep in mind that we’re writing for an audience. And today’s audience can be tough to please. As you read what you’ve written, consider possible ways your work can keep a reader interested and happy. Is the piece wordy, confusing, or filled with sexist language? Do you overuse certain words or phrases or bore the reader with too much jargon? It’s worth a second look to make sure you’re keeping your reader happy.

You’ve probably never read a novel in which pages and pages are devoted to tedious dialogue, and the reason is simple: chances are slim to none that such a book would get published.

"So, would you like to use our telephone?"

"Yes, please."

"I’ll find it for you."

"Thank you."

"Oh, here it is."

"Great."

"Do you need a phone book?"

"Yes, please."

At that moment, my companion keeled over dead. So I decided to go home and recuperate from the trauma.

The next day, I decided to go to the grocery store...

The trivial interchange above does not influence the plot or define the characters. It provides nothing but filler. And when a pivotal moment does occur, it is given but one full sentence, and we’re off again onto more inconsequential pursuits, like passing dishes at the dinner table, or ticking off items at the grocery store. It’s monotonous and meaningless.

Timing and plotting issues can ruin the flow of a story, and while these are the mistakes of a brand-new writer, it never hurts to review a few of the issues that may turn your reader off. After all, what reader wants to relive all the trivial moments of life? Don’t we pick up novels in the hopes of being transported? Riveted by new experiences and interesting characters? Removed from our mundane lives for a little while?

The above example may be extreme, but the point is simple: keep your reader in mind at all times. Have others read what you’ve written and consider their comments.

Here are some other things to avoid in your quest to make your reader a happy camper:

Wordiness

I, myself, have not decided what to do in the event that I don’t graduate this year. Perhaps I could utilize my parents’ connections to secure a job, like many individuals before me have done.

Today’s reading audience appreciates a straightforward, concise read. They’re busy, and they appreciate concise, economical language. Why use the word "utilize" when you can say "use"? Or "in the event of" when you can say "if"? And save the "myself" and "individuals" for police reports…

Sexually or racially biased language

The serving girl arrived with Cokes for the lady doctor and the Oriental gentleman.

Someone is bound to be offended by this sentence.

Shifting tenses

It had been awhile since Sarah saw Bruce, and she is in love with him. They will have been a couple for two years now if it weren’t for their three-month separation.

Confusing? Yes. Irritating? Extremely.

Comma splicing

There was a lovely fragrance in the air, she was so taken by the local flora that she vowed to make a stop at the garden center before leaving town.

Make these two separate sentences, or add a conjunction to join them. Please.

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Author’s Submission Service Since 1994

Imagine you’re a fly on the wall at a busy magazine publishing house. As a writer of short stories and a diligent submitter to dozens of similar magazines, you are naturally interested in the process of selection. As you hover in the corner of the ceiling, you intently study the small group (okay, two people) of first readers as they plow through the stack of hopeful submissions piled at their feet. And you watch in horror as they tear through story after story, sometimes merely pulling a submission halfway from its manilla envelope and scanning the first paragraph before tossing it carelessly over their shoulders.

From your point of view, it appears that these stories are barely being considered at all, and in some ways, you’re right. In a typical publishing house, the number of short story submissions far outweigh the number of pieces selected for publication (by an incredibly wide margin), and first readers have no choice but to make lightning-quick decisions, often based on a first glance alone. What, then, makes the difference between forwarding this piece on to an editor for further consideration, or being gobbled by the Round File? For the short story writer, it all comes down to the first sentences. Because, quite literally, those first sentences are often all that you will be judged on.

Our advice? Hit the ground running. Start with some sort of conflict or threat. Grab the reader’s attention with the unusual or the unexpected. Create tension, and make the reader anxious to read more, to learn what happens to this character and how this character will deal with the threat or the change.

A moving van pulls up to the curb, and a bizarre-looking family begins to emerge...

The doctor calls with some startling news...

The doorbell rings. Who is that familiar-looking stranger at the door?

Weather reports are boring and probably have no bearing on the story (unless your story involves a hurricane or some other exciting weather event). Long, flowery descriptions of the story’s setting do not count as attention-grabbers. Neither do detailed histories of the characters or their motivations. If you must include some background or describe the setting, do so later, after your reader has been intrigued enough to read further.

Writers of short fiction should bear in mind this fact: Readers (and busy editors) are more impatient than ever before. They will not tolerate a story that takes several paragraphs to warm up—they want to get right to the action, and they want it now. So get the story started right off the bat, and give the reader what they want: a powerful opening and a great story.

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Author’s Submission Service Since 1994

Many of us keep journals to reduce stress or to record life’s events for posterity, and writers especially should make use of this creative outlet. Journaling can be a great tool for writers—the journal becomes a repository for fresh ideas and a safe place to write. Whether it’s a spiral notebook or a leather-bound book with a beautiful cover, a writer’s journal should be a source of inspiration.

There is an endless variety of journals to choose from. Select something that inspires you, that makes you eager to crack your journal open and turn to a fresh page. A beautiful diary with fun pockets or an elegant cover will make writing a pleasure. Invest in a fun or really fancy pen to use just for your journaling. Then, you are always ready to write!

Keep your journal handy for jotting down those whimsical ideas or brilliant first sentences that pop into your head at the oddest moments. If your journal is large or bulky, keep a spiral-bound pocket-sized notebook around. You can then transfer your ideas to the larger journal.

Write regularly and on a schedule. Get into the habit of writing each day, and you’ll be perfecting your craft at the same time.

A journal is meant for no one’s eyes but your own, so let those ideas flow unfettered. A little stream of consciousness is good for the soul, and no one will be looking over your shoulder, judging you on punctuation issues or your choice of simile. Sometimes when we let ourselves go and just write, we gain priceless personal insights—and these insights can help us to be better writers.

If the ideas aren’t flowing, try some writing prompts and power your way through writer’s block. Sometimes the very act of writing will clear the path for new ideas and recharge your sagging muse. A Poet's Companion by Kim Addonizio and Dorianne Laux includes writing prompts applicable to either prose or poetry at the end of many chapters.

Some writers add newspaper clippings, sketches, or magazine articles to their journals—anything that inspires them. Others keep pictures or make lists. That’s the beauty of a journal—there are no rules, and this freedom is the catalyst that can unleash your creativity.

We can also go paper-free and buy journaling software, keeping a record of our thoughts and ideas on our personal computers. These programs have the standard word-processing capabilities, and most allow the user to add graphics, sound bites, and charts. If you’re thinking of buying, try the 30-day free trial period available with most of the software. If a trial period is not available, make the most of user-review sites like www.epinions.com. A few to check out:

Alpha Journal (www.alpharealms.com/journal/index.htm)

Digital Diary (www.ajebe.com)

The Journal (www.davidrm.com)

VistaWrite (www.digitalwriting.com/vwrite/default.asp)

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In a previous post (http://www.writersreliefblog.com/post/Genres-Defined2c-Part-I.aspx), we defined the broadest categories of genres and broke them down into some common subgenres. For this post, we added a couple of genres and thought it would be fun to delve a bit deeper into some of the lesser-known subgenres…especially the newer ones with interesting names like cyberpunk and splatterpunk. Catchy, huh?

Romance:

We are all familiar with the romance genre. Every supermarket has an aisle with dozens of titles, so there’s no denying its popularity. It’s a genre with many subcategories, and most are self-explanatory. For instance, historical romances take place in—you guessed it—historical times. Combine a historical romance with a good mystery, and you have a historical romance mystery. Regency romances take place in the early 1800s and are set in England (when the Prince Regent ruled Britain). Inspirational romances have a spiritual theme, and multicultural romances involve characters from different racial backgrounds. There are also time-travel romances, where the characters travel back and forth between dimensions; paranormal romances, involving otherworldly elements; contemporary romances (set after the World Wars); and Victorian romances, which are set in Victorian times.

There are two criteria for a romance novel: there must be a central love story, and there must be an emotionally satisfying ending, as in marriage or a happily ever-after scenario. Once these two criteria are met, the writer can take a variety of directions and set the story in the present day, historical times, or even in a prehistoric setting.

Speculative Fiction:

The term "speculative fiction" is a broad umbrella that covers several genres, including horror, science fiction, and fantasy. It’s based on speculation about other worlds and otherworldly characters and events.

Science Fiction:

This is a genre bursting with interesting subcategories. Science fiction is based on futuristic concepts and technological advances—hence the name "science." From this common denominator, the genre can then take one of dozens of paths, depending on plot. These subgenres include time travel, adventure (space exploration, for example), robots and computers, aliens, parallel worlds, and even elements of romance, mystery, and horror.

Science fiction is loosely categorized as either "hard" or "soft," and defining these categories can stir up some hot debate among aficionados. In general, hard science fiction is based on scientific accuracy, and the science is absolutely crucial to the plot. The events in the story could conceivably happen based on technology as we know it, and there’s an element of realism involved. An example may be a novel about a fleet of robots, or a mega-computer that tries to take over the world. Isaac Asimov and Arthur C. Clarke are authors who employed this method.

"Soft" science fiction typically focuses on the people or the society who live in the fabricated environment; science and/or technology are a part of the story but are not central to it, and more focus is placed on character development and social issues than realistic scientific breakthroughs. Margaret Atwood’s The Handmaid’s Tale is a good example of soft science fiction.

One new and interesting subgenre has become known as "cyberpunk," based on the short story by that name by Bruce Bethke in 1980. Cyberpunk is usually set in the near future and is based on punk attitudes and information technology. It involves a complete breakdown or a radical change in the social order, and its characters typically live on the edge of this society.

Horror:

Under this genre, the subcategories are quite self-explanatory. They include medical thrillers, vampires, demons, serial killers, and monsters (both human and nonhuman). "Splatterpunk," however, is not quite as clear. The term, coined in the mid ’80s, refers to a category of horror where all boundaries of good taste are crossed, and nothing—absolutely nothing—is sacred. If you’re into gory, shocking, in-your-face horror, this is the genre for you.

Literary Fiction:

This is first-class fiction, where the quality of the writing is the star of the show as opposed to the plot. Literary fiction explores the human condition, and it does so through outstanding writing, innovative language, and original ideas. It’s read by a niche audience and not targeted to the "common man" audience.

Mainstream Fiction:

Mainstream fiction is considered more "popular" because it appeals to a broader audience. Any genre can be used to produce a mainstream or widely popular novel. The plot must have elements to which a broad spectrum of readers can relate, usually focusing on relationships and personal conflicts. Mainstream fiction can be horror, romance, mystery, or science fiction, but it must have this in common: a wide audience. Many of Stephe